Since “My Fair Lady” is my favorite musical, I’m looking forward to Lincoln Center Theater’s revival of it next spring. But Lincoln Center and director Bartlett Sher are having some trouble casting it.

Colin Firth — the ideal Henry Higgins — has been on everyone’s wish list for years. He was going to do a revival a few years ago but had a scheduling conflict, though he did learn the score. Insiders say that he said no to Lincoln Center, though one source says that he may change his mind: Never underestimate Sher and Lincoln Center chief André Bishop’s powers of persuasion.

There was a rumor Kevin Kline was in the running, but I hear Sher would prefer an English actor for authenticity.

As for Eliza Doolittle: Although Sher worked brilliantly with Kelli O’Hara in “South Pacific” and “The King and I,” she may, at 41, be a bit mature for the role. Julie Andrews, Broadway’s original Eliza, was just 21 when she played Eliza; Audrey Hepburn, who made the film, was 35. Here, too, someone British might be better.

Then again, not even a native can pull off that pesky Cockney accent. Andrews struggled with it so much that director Moss Hart shut down rehearsal for two days to work with her alone. Afterward, she was able to bring down the house with the famous line, uttered during the Ascot horse-race scene: “Move your bloomin’ arse!”

That anecdote comes from “The Street Where I Live,” Alan Jay Lerner’s wonderful 1978 memoir. It’s being developed into a musical by his daughter, Liza, who co-produced the revival of her father’s musical “On a Clear Day You Can See Forever,” starring Harry Connick Jr. Susan Stroman, who staged “The Producers” and “The Scottsboro Boys,” is attached. John Lahr, the former theater critic for the New Yorker, is working on the script.

“We had a successful workshop, and we’re moving forward,” says Liza Lerner. “But we’re still very much a work in progress, so let’s leave it at that for now.”

Lerner had quite a life. He was married eight times and bit his nails so ferociously that he covered them with white gloves. To ward off depression, he took amphetamine injections from Max Jacobson, the notorious “Dr. Feelgood.”

I’m not sure all those details will work their way into the musical, but it should feature many great Lerner and Loewe songs, such as: “Almost Like Being in Love,” “They Call the Wind Maria,” “The Rain in Spain,” “I Could Have Danced All Night,” “If Ever I Would Leave You,” “Thank Heaven for Little Girls.”

The show may also contain gems from lesser shows Lerner wrote with Leonard Bernstein (“1600 Pennsylvania Avenue”), Burton Lane (“On a Clear Day You Can See Forever”) and Charles Strouse (“Dance a Little Closer”).

Lerner wrote some songs with Andrew Lloyd Webber for “The Phantom of the Opera” before they parted ways. I hear that some of those lyrics, which have never been published, may appear in “The Street Where I Live.”

If you haven’t read Lerner’s memoir, order it now. It’s urbane and witty, like the man himself. Lahr, who helped Elaine Stritch shape her one-woman show “Elaine Stritch at Liberty” into a hit, should have a fine time pilfering from it.

Now that I think of it, Sher should send a copy to Firth. The chapter on “My Fair Lady,” full of hilarious stories about Rex Harrison, just might convince Firth to tackle the role.